I didn't expect much of this. I went along to see it because my wife fancied a trip to the cinema and because I'm a big James Bond fan (I know, I know). But it's a good movie.
There are some good performances in this. Craig is believable as the stoic, reluctant leader as is Liev Schreiber as his combustible brother, but the best turn is by Jamie Bell as a younger brother who comes of age over the course of the film. The location work is excellent and there is an atmosphere of believable fear throughout. I also liked the lack of stereotyping which usually acts as shorthand in war-based films, this film is more intelligent than to do that.
That said, the film is a little overlong and drags in patches. I'd recommend watching it, I wouldn't necessarily buy it. 6/10.
Sunday, 11 January 2009
Thursday, 8 January 2009
The Wrestler (2009)
Darren Aronofsky's 'Requiem for a Dream' is one of the hardest-hitting films I've ever seen. With 'The Wrestler' he doesn't quite hit those heights but he has still fashioned a magnificent film. All of the hype that this film has received has been for Mickey Rourke's performance and it is all justified, this is the Mickey Rourke who blasted a great De Niro performance off screen in 'Angel Heart' with beautiful emotional balance and this role sees him equalling that career-height. The pain, confusion and frustration are all too authentic and, given what we know about Rourke outside of the film, come from his very core. The redemption within the film is all Rourke's- this is the role of a lifetime for the most talented actor of his generation. In every way this is the film that 'Rocky Balboa' was supposed to be.
The three distinct plotlines- the washed-up professional wrestler, the too-old lap-dancer and the daughter who reconciles herself to the fact that her father will never be there for her- dovetail beautifully and genuinely provoke questions rather than offering answers. It is far easier to preach a message or promote a particular belief than to allow me (as the viewer) to take away the questions to consider for myself.
The themes evoked are around existentialism, redemption, forgiveness, rejection, being and doing, nihilism and identity. Aronofsky tones down the visual stylistics that he is capable of, stripping bare the movie of unnecessary flourishes and relying upon the power of the storytelling. It is a confident move from a first-class Director. Aside from the ring entrance sounds that accompany Rourke on his walk to the deli counter and the whistling noise each time he removes his hearing aid, I can't off-hand think of anything that Aronofsky does in addition to pure story-rendering.
The downsides of 'The Wrestler' are a sadly-predictable (though beautifully drawn) ending and Tomei's lack of chemistry with Rourke. She can't hold her own with the film's star and I'm not impressed with her Golden Globe nomination at all. That restricts 'The Wrestler' to 8/10 for me. It was almost so much more.
The three distinct plotlines- the washed-up professional wrestler, the too-old lap-dancer and the daughter who reconciles herself to the fact that her father will never be there for her- dovetail beautifully and genuinely provoke questions rather than offering answers. It is far easier to preach a message or promote a particular belief than to allow me (as the viewer) to take away the questions to consider for myself.
The themes evoked are around existentialism, redemption, forgiveness, rejection, being and doing, nihilism and identity. Aronofsky tones down the visual stylistics that he is capable of, stripping bare the movie of unnecessary flourishes and relying upon the power of the storytelling. It is a confident move from a first-class Director. Aside from the ring entrance sounds that accompany Rourke on his walk to the deli counter and the whistling noise each time he removes his hearing aid, I can't off-hand think of anything that Aronofsky does in addition to pure story-rendering.
The downsides of 'The Wrestler' are a sadly-predictable (though beautifully drawn) ending and Tomei's lack of chemistry with Rourke. She can't hold her own with the film's star and I'm not impressed with her Golden Globe nomination at all. That restricts 'The Wrestler' to 8/10 for me. It was almost so much more.
Monday, 5 January 2009
Black God, White Devil / Deus e o Diabo na Terra do Sol (1964)
The literal translation of this film's title is 'God and the Devil in the Land of the Sun'. I think that is a more suitable title. Black God, White Devil is too restrictive and singular. The film is packed with Gods and Devils and the distinction is often obscure.
There are times when I have to accept that I don't have the knowledge to fully appreciate what I am watching. This is one of them. Having no knowledge of the socio-political context of the making of the film and only a limited theological knowledge, I know that the film contains allusions and references which completely escape me. 'Black God, White Devil' requires background reading and repeated viewing to be fully appreciated. It is easily good enough to justify the effort.
What I can fully appreciate, is the technical excellence of the film-making. Filmed in a stark monochrome which lends the outdoor shots a bleached-out quality (the kind of thing I've seen ripped off throughout the last two decades by expensive videos for the likes of U2, Texas and REM) and heightens the drama of the extreme close-ups employed. There are excellent performances by Geraldo Del Rey and especially Othon Bastos as Corsico and the use of a musical narration is innovative and works well. Some of the lines of dialogue are elusive and mysterious (though this could, perhaps, be attributed to bad translation!) heightening the almost dream-like atmosphere that Glauber Rocha builds. Some of the scenes are works of expressionistic beauty- the Odessa steps homage during the village massacre, the sacrifice of the baby and murder of Sebastian, the opening footage of cattle skulls, the shadows of the dagger and rifle and the wedding party desecration.
This is a work which deserves the attention it demands. A beautiful, harrowing but slow and challenging film. 7/10- that it doesn't score more highly probably owes more to my ignorance than the film's shortcomings.
There are times when I have to accept that I don't have the knowledge to fully appreciate what I am watching. This is one of them. Having no knowledge of the socio-political context of the making of the film and only a limited theological knowledge, I know that the film contains allusions and references which completely escape me. 'Black God, White Devil' requires background reading and repeated viewing to be fully appreciated. It is easily good enough to justify the effort.
What I can fully appreciate, is the technical excellence of the film-making. Filmed in a stark monochrome which lends the outdoor shots a bleached-out quality (the kind of thing I've seen ripped off throughout the last two decades by expensive videos for the likes of U2, Texas and REM) and heightens the drama of the extreme close-ups employed. There are excellent performances by Geraldo Del Rey and especially Othon Bastos as Corsico and the use of a musical narration is innovative and works well. Some of the lines of dialogue are elusive and mysterious (though this could, perhaps, be attributed to bad translation!) heightening the almost dream-like atmosphere that Glauber Rocha builds. Some of the scenes are works of expressionistic beauty- the Odessa steps homage during the village massacre, the sacrifice of the baby and murder of Sebastian, the opening footage of cattle skulls, the shadows of the dagger and rifle and the wedding party desecration.
This is a work which deserves the attention it demands. A beautiful, harrowing but slow and challenging film. 7/10- that it doesn't score more highly probably owes more to my ignorance than the film's shortcomings.
Friday, 2 January 2009
Sherlock Jr (1924)
Holy fuck! Whoever said that ignorance is bliss is a fool. Before tonight I'd seen none of Keaton's films and now I've seen two. THIS is bliss. Where 'Our Hospitality' was amazing and hilarious, 'Sherlock Jr' is hilarious and amazing. This is sublime and surrealistic, it is by turns dazzling and cripplingly funny. This film is a riot. I can't believe what I've just seen, for the second time tonight I've been blown away - 10/10.
Thursday, 1 January 2009
Our Hospitality (1923)
'Our Hospitality' took my breath away. A simple plotline based upon true events allowed Keaton to develop an at-times hilarious and consistently breathtaking film of great wit, invention, drama, pathos and charm.
The humour in this movie is subtly crafted (the open-eyed saying of grace, the moving of the train rails and the donkey walking away straight after, Buster's dream-house inheritance going up in smoke, the laying down of arms, the dress and umbrella on the horse, Keaton standing on the riverbed looking around in confusion) and doesn't rely on slapstick or Old Stoneface's deadpan delivery.
Equally impressive are the visuals- there is a tracking shot of Keaton doing the splits between gradually separating portions of a train which is years ahead of its time.
But perhaps the most important aspect is the dramatic chase sequence as the film builds to a wonderful climax. I'm loathe to spoil the surprise of what is to come should anyone read this before seeing- it's a long shot, but the rescue is such an amazing thing to see that it would be a real shame to risk it.
There were moments in 'Our Hospitality' when I literally couldn't believe what I had seen. It isn't the funniest comedy I've ever seen, but it is one of the most impressive pieces of cinema. The only negative is the ropey pacing that allows the viewer's interest to flag in parts. 9/10.
The humour in this movie is subtly crafted (the open-eyed saying of grace, the moving of the train rails and the donkey walking away straight after, Buster's dream-house inheritance going up in smoke, the laying down of arms, the dress and umbrella on the horse, Keaton standing on the riverbed looking around in confusion) and doesn't rely on slapstick or Old Stoneface's deadpan delivery.
Equally impressive are the visuals- there is a tracking shot of Keaton doing the splits between gradually separating portions of a train which is years ahead of its time.
But perhaps the most important aspect is the dramatic chase sequence as the film builds to a wonderful climax. I'm loathe to spoil the surprise of what is to come should anyone read this before seeing- it's a long shot, but the rescue is such an amazing thing to see that it would be a real shame to risk it.
There were moments in 'Our Hospitality' when I literally couldn't believe what I had seen. It isn't the funniest comedy I've ever seen, but it is one of the most impressive pieces of cinema. The only negative is the ropey pacing that allows the viewer's interest to flag in parts. 9/10.
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